Tag: builder’s guide

Crescendo Introduction

High Efficiency in a reasonable size, with good bandwidth and rich sound. SET friendly.

Unfortunately horns with any bandwidth are the size of a fridge. So we have developed a horn ribbon based system which achieves our goals. The wide band horn ribbon covers from about 600hz to 23khz. The special carbon fiber reinforced paper cone cast frame 8” Driver covers below that, using 1st order (phase-coherent) crossovers.

The Systems sensitivity is an honest 98db/w (100db in room as specified by many speaker manufacturers), nominally 8 ohms. The box is 30L and covers from about 60hz to 23khz in room. The Crescendo can be used with many commercial Subwoofers to extend the low frequency response.

The -6dB coverage angle for the Crescendo HF 50 degrees horizontal and 30 degrees vertical. Such controlled dispersion over such a wide frequency range ensures that even in acoustically difficult rooms and the midrange and treble remain from excessive reflections and room reverb.

Crescendo Enclosure Designs

The Enclosure for the Crescendo System can be arranged quite wide arrangements as long as the volume and tuning is preserved.Here the design we use and recommend. It uses a simple box with a large cross-section port, to avoid compression and port noise.The material should be void-free plywood, 18mm thick. Of course, Corian or Natural stone or solid stave-glued hardwood, or bamboo may also be used.Glue with good filling properties is recommended for any of the wood materials, Grip-Fill (the professional version of liquid nails) or similar work well, as can resin based glues. Stone requires special glues.The Back Panel is kept removable to allow the low frequency drivers to be mounted from behind. Unless you wish to use an external enclosure for your crossover building it on the removable back panel allows easy access for modification.We suggest to first try the box without any stuffing or damping material. All the resonance modes caused by the enclosure dimensions are high enough in frequency to not appear within the operating bandwidth of the low frequency driver, mainly due to the low crossover point

Crescendo Crossover

The 3 x 100uF/400v caps and the parallel resistors from LF driver (-) to the binding post are optional.

The Vinyl Song is a State of the Art Phono Preamplifier/Equalizer with 38dB (MM) and 62dB/68dB (MC selectable) of gain.

By using the Silk 600 Ohm LCR RIAA EQ Modules not only a very precise equalization is attained, but also noise is kept very low. The (optional for the MC version) Cinemag step up transformers provide the extra gain for MC pickups without adding noise or colorations.

The kit is also supplied with premium RIAA parts – polystyrene capacitors and teflon shielded mini coax. Although contained in one box the transformers have their own iron shielding cage with a net result of state-of-the-art, quiet and incredible dynamic range.

Specification

Power: 110 to 240V AC 40W

THD: 0.1% at 1V RMS

Gain MM: 38dB

Input Imp. MM: 47KOhm

Gain MC Lo: 62dB

Input Imp. MC Lo: 140 Ohm

Gain MC Hi 68dB

Input Imp. MC Hi: 36 Ohm

Frequency Response: 22hz to 30k +-0.6db RIAA

Output Impedance : < 200 Ohm

Signal to Noise: 86dB

Inputs: 2 sets RCA, MM/MC

Outputs: Left and Right RCA

Grounding Interface: 1

Size with feet (mm): 300 x 320 x 90 (LWH)

Step 1: Tube Output Stage Settings and wiring

Introduction of tube output stage and phono stage:

This application will produce a moving magnet and high output moving coil cartridge compatible Phono stage. It use two Universal Tube Output Stages together with a LCR 600 ohm module to form the RIAA Equalisation network as Phonostage. One UTS Module will be used for each channel, so Tubes used should be identical in manufacturing and preferably matched.

The resulting Phono Stage will offer 47kOhm input impedance and around 38db Gain in MM mode. Gain with the Cinemag MC stepup transformers will be 62/68db with a load of 140/36ohms.

Our implementation produces the most accurate RIAA EQ we have ever seen from an LCR type phono stage:

We include military specification polystyrene caps with the kit to meet these specs. Such adherence to RIAA standard results in very quiet playback that minimizes grove noise and diminishes the presence of tics and pops.

Jumper Settings

This type of Application requires the jumper settings shown below:

Please note that Capacitor C109 is (intentionally) not fitted. It is not used and should be left off the PCB. The connection pad on the PCB near the upper end of the PCB (as above) is used to take off the signal feeding the LCR RIAA.

Input/Output Wiring Diagram MM Only

Please note that the Mute and Mono Switches may be safely omitted. If the mono Switch is omitted the four 33 Ohm Resistors also can be removed.

In most Phono Stages using LCR RIAA Equalization the LCR RIAA Module is coupled using either capacitors or transformers. In our circuit no such coupling device is needed.

The LCR RIAA Module is coupled directly to the output of the input gain stage using only a single Tantalum resistor to present the correct impedance to the LCR RIAA module.

In order to allow this direct coupled circuit, the wire feeding the LCR EQ Module via the 680 Ohm resistor is soldered on the PCB to the connection for the omitted C109, nearest to the edge of the PCB that contains the audio connections.

Step 2: Wiring overview

Take care to first review the steps outlined below, assemble the necessary tools, parts etc..

Many of the required connections can be made without using a soldering iron. However the connections for the RCA Jacks and from the MC Stepup Transformers as well as the LCR Modules require soldering. For the RCA Jack ring connections and the ground binding post we recommend a soldering iron of at least 50-60Watt power. All other solder connections should use a smaller soldering iron with 25Watt power or (better) be of the electronically regulated type.

When making connections to the IEC sockets and the mains transformers take great care to make solid connections and to isolate the bare connections using the included heat shrink sleeving. Please avoid pulling the wires exiting from the Transformer, as too much tension may cause internal shorts or disconnect the wire, rendering the transformer unusable.

The iron cover of the transformer shielding cage is set into place on the blue mastic provided. This provides a non-vibrating fit and makes removal easy.

Step 3 : Wire up the mains connections

Step 4: Wire up the Power connections, outputs, Led & Switches

Step 5: Wire up the LCR EQ Modules

Step 6 : Wire up the MC Stepup Transformers and MM Inputs

Step 7: Comparing with our finished photos

Back panel functions

(Looking at back panel from back)

Right RCA: output to linestage

Middle RCA: MM input

MM/MC select: right – MM; left – MC

MC Gain select: up – high / down – low

Left RCA: MC input

Ground post: Tonearm Ground wire connection

Front Panel Functions

(Looking at front panel from front)

Left switch: up – On / down – Off

Central LED: Power indicator – On = Power On

Mono/Mute Switch group to the right of the Power Indictor LED

Left switch: up – Stereo / down – Mono

Right Switch: up – Play / down – Mute

Photo of completely wired Vinyl Song, transformer shielding open

Photo of completely wired Vinyl Song, transformer shielding closed

Step 8 : Testing and first power-up

The modules making up your Vinyl Song Kit are individually tested before shipping. So no extensive testing is required. However, we recommend a set of basic checks before first switch-on.

Basic testing and checks

Please re-check all the wiring and connections against the drawings and Photos. Check that no components on the PCB have been shifted or pushed from their correct position and that no components make any contact with others.

You should especially check Q2 and Q102, located near the tube socket. You can find their exact location by checking the component designators on the PCB Overlay.

Check that for 115V Mains a 1A slow blow fuse is fitted to the IEC Sockets fuse holder. For 230V the Fuse should be 0.5A.

Testing the Mains Transformer Wiring

Using a multimeter set to resistance measurement check the following conditions are present on the IEC Connector:

1) There is no continuity or resistance from either the L(ive) or N(eutral) pin to theE(arth) Pin.

2) There is a zero ohm or very close to zero ohm (<<1Ohm) resistance between the E(arth) pin and the Vinyl Song Chassis.

3) If your Vinyl Song Kit is wired for 115V you should measure around 15 to 20 Ohm between L(ive) andN(eutral).

4) If your Vinyl Song Kit is wired for 230V you should measure around 60 to 80 Ohm between L(ive) andN(eutral).

First Switch-on

We recommend you carry out the first switch-on without the E88CC Tubes fitted, with the case open and the cover from the shielding case for the transformers removed.

Upon connecting the mains cable and turning the power switch to “On” the power LED should light up, followed by one each Blue LED on the UTS Boards.

There should be no smoke or burning smell. If you notice any such, please immediately switch off and disconnect the mains cable. Then check your work and rectify any faults.

If all appears okay leave the Vinyl Song on for another minute or two. Then switch off, disconnect the mains-cable and check the temperature of the mains transformers.

If they are at room temperature all is okay. If they have a very elevated temperature you may have a short somewhere in your wiring or a damaged transformer.

If everything is okay, you can fit the transformer shield cover, the tubes and complete the assembly of the Vinyl Song.

For a final check connect the mains cable and switch on. After around 1 minute measure with your multimeter the DC voltage on each RCA Output. This should be no more than a few millivolt.

If all is as expected, you can move your Vinyl Song into your system for a first listen.

Appendix A : Cinemag MC Stepup Connections and Performance

CineMag was founded in 1979 in North Hollywood, California. Its mission is to manufacture the very best audio magnetic components in the world. However, its history goes back to 1953 when its founder, Tom Reichenbach, was a youngster and was already making transformers with his father, Ed. Edward Reichenbach’s experience in the audio transformer business goes back to Altec Lansing during World War II.

In order to obtain the very best results in an audio design, it is imperative that each and every detail of manufacturing be closely watched. The smallest deviation from ideal manufacturing processes will result in product which does not meet our criteria. For this reason, CineMag carries out all manufacturing at their own facility at Canoga Park, California.

The CineMag CMQEE-3440A’s design derives from the classic “Quad 8” Range designed originally for Electrodyne Mixing Desks. It can be connected with impedance ratios of 37.5/150 and 600 ohm to 50KOhm, translating into step-up ratios of 1:36, 1:18 and 1:9.

A.1 Transformer connection diagram

For 37.5 Ohm / 1:36 – Tie Brown to Yellow & Red to Green

Input Connections to Brown/Yellow (+)

& Red/Green (-)

For 150 Ohm / 1:18 – Tie Brown to Yellow & Orange to Blue

Input Connections to Brown/Yellow (+)

& Orange/Blue (-)

For 600 Ohm / 1:9 – Tie Yellow to Orange

Input Connections to Brown (+)

& Blue (-)

A.2 Transformer Test Results

A.3 Transformer grounding & Secondary Hookup

Appendix B : Silk LCR EQ Connections and Performance

Silk Transformers of Thailand have been manufacturing a wide range of conventional and uncommon magnetic components for many years.

The trend to use vacuum tube phono stage circuits has been back to the high-end scene for several years. Most designs based high impedance, high loss R/C networks in either feedback loop or passive, to provide RIAA compensation.

Even though this scheme has been implemented to most of available phono stage circuits, due to ease of design, implementation and low cost, for many audiophiles, those phono stages still do not provide enough sense of reality.

Recently the trend of alternative design called LCR RIAA phono stage circuit is now on rising and gain popularity among discerned audiophiles. This is only natural, as the pre-emhasis RIAA networks in many Cutting Lathes for cutting LP’s also used LCR Circuits to shape the original equalization.

The LCR RIAA comprises of inductors, resistors and capacitors to form a low impedance constant impedance T-network that functions to compensate for RIAA playback standard. This low impedance characteristic yields exceptional signal transfer that usually lost from high impedance R/C RIAA network.

The Silk LCR RIAA is built based on the best Superpermalloy core inductor and performs within +/- 0.5dB from RIAA standard (from 20Hz-20KHz) and on average less than +0.15dB from the RIAA standard. The SILK LCR RIAA requires either 600 ohm source impedance or 600 Ohm load impedance.

B.1 LCR RIAA connection diagram

B.2 LCR RIAA Response

Appendix C : Universal Tube Output Stage

Electrical Performance:

S/N- > 100dbA (approx 5nv/hz).

THD- <0.15% (<0.1% typical); <1%THD (10Vout, 100K load)

20Hz – 20KHz (< -0.5db with IHF 10K/1nf load)

Output Impedance <100 Ohm

Can use 6N11,ECC 88, 6DJ8, 6922, tube family only in this implementation.

Settings and Input wiring for use as simple single ended stereo RIAA equalisation preamplifier

Alternate 12db Gain Stage in Shunt mode

Pro-Audio Project

Introduction and Overview

The Universal Tube Output Stage has been designed to offer a State of the Art tube amplification stage, mainly intended to be applied to CD-Players, DVD-Players and DA-Convertors to completely replace the original solid state analouge circuit

Additional applications include the use as Line Preamplifier with 6dB or 12dB gain.

The module can also be used as low noise, high gain (gain appx. 30db) amplification block for low level applications such as RIAA pre-amplification stages and as microphone or instrument amplifier.

Using one module we have either a stereo single-ended input and output (two independent channels) or a mono balanced input and output (single balanced channel). If a stereo balanced input and output are required two modules must be used.

Each configuration can be used either as single ended in/out stereo for one PCB or as balanced in/out per PCB.

If using a balanced output DAC with a single ended input Tube output an additional resistor or resistor/capacitor needs to be added externally to the tube PCB.

All DAC types listed below names the most commonly encountered types, but is by no means exhaustive.Some examples:

1) Analog stage for current output DAC – 2V out for 0dbfs with 1mA or 2mA full scale current, can be configured for DAC’s having their output referenced to either ground (TDA1541, PCM56/63/1702/1704, AD1856/1862/1865) or an arbitrary reference voltage of 2 – 3V (TDA1543/1545, PCM1738,AD1853 and many others) , < 100R output impedance.

2)Analog stage for voltage output DAC – 2V out for 0dbfs with 1V or 0.5V full scale voltage, can be configured for DAC’s having their output referenced to either ground (CS4328) or an arbitrary reference voltage of 2 – 3V (CS4329/9X; PCM1716/1728/1732/1741; AKM4393/4394/4395; AD1852/1854/1855; NPC SM5872/5865/5866 et al) , < 100R output impedance.

Input and Summing Amplifier in a classic tube mixer, for example, a 6 – 2 mixer could be build using 6 Microphone transformers(plus instrument input jacks), 3 tube stage modules for inputs, suitable volume and pan control faders/potentiometers per chnnel and one tube output module with 4/5:1 stepdown output transformers fo balanced output… Maximum gain in to out using 1:4/4:1 transformers is around 60db.

For ease of application all connections on the Universal Tube Output Stage are provided as screw terminals and all configurations are handled by gold-plated jumpers, so no soldering is required on the actual Universal Tube Output Stage Module.

For those desiring soldered connections instead we recommend to either unsolder the screw terminals and solder the wires in the holes thus available or to simply solder the wires to the solder pads below the PCB.

Equally, for those wishing a soldered configuration instead of jumpers simple solder bridges can be soldered across the jumper pins below the PCB.

In the following Manual the application of the Universal Tube Output Stage is broken down into three distinct sections.

Section one covers the connections of the included power supply transformer while section two covers the connections of the output sockets to the module.

Section three covers the different arrangements of the Input connections and the jumper configuration to suit the various available DAC Chips and the other applications.

Observe orientation. Pin 1 of the TCXO oscillator shall align with the square corner of the silk print.

UNDER NO CIRCUMSTANCES attempt to re-adjust the oscillator by yourself.

B: “The Clock”

1. Choose the adapter that fits your application:

a. 2-pin crystal – use 2 pin adapter

b. 4-pin oscillator DIP 8 Type (square) – use XO DIP8 Adapter

c. 4-pin oscillator DIP 14 Type (rectangular) – use XO DIP14 Adapter

Note:

Three different adapters are attached to ‘The Clock”. Break these off carefully using a small set of pliers and select the one that matches the clock you are replacing.

You may wish to keep the remaining adapters for future use.

2-pin crystal adapter

1. Unsolder the original crystal (2-pin).

2. Solder the 2-pin crystal adapter in place (non-directional).

3. Connect the supplied cable between the “Adapter XTAL” socket (P3) on ‘The Clock” and the socket on the 2-pin crystal adapter.

Note:

The “Adapter XTAL” socket (P3) on ‘The Clock” is used with the 2-pin crystal adapter

4-pin oscillator (DIP 8-pin and DIP 14-pin) adapter

1. Unsolder the original Oscillator (4-pin).

2. Solder the 4-pin oscillator adapter (XO DIP8 or XO DIP14) in place (pin 1 must be correctly positioned).

3. Connect the supplied cable between the “Adapter XO” socket (P2) on ‘The Clock” and the socket on the 4-pin oscillator adapter.

4. Set the output voltage of ‘The Clock” by the jumper (J1) on ‘The Clock”. Default is 5V.

5. Connect ‘The Clock” module to “The Power” using suitable cables.

Note:

The “Adapter XO” socket (P2) on ‘The Clock” is used with the 4-pin oscillator adapter.

Usually, older players will require 5V clock, many newer players and most DVD Players will need a 3.3V clock however. If in doubt consult the service manual and/or the manufacturer’s datasheet or measure the supply voltage of the existing oscillator by the following methods:

 Measure the voltage between pin-4 and pin-8 on the DIP8 modules

 Measure the voltage between pin-7 and pin-14 on the DIP14 modules

The power supply to ‘The Clock” should be at least 10V DC, no more than 16V DC (100mA). The matching ultra low noise power supply “The Power” is highly recommended in order to get the best performance out of “The Clock”.

If the LED (D3) on “The Power” lights up, but that LED (D2) on ‘The Clock” does not, most likely “The Power” connections are connected incorrectly.

C. “The Power”

1. Mains connection:

230V Connection

Connect L2 to N1 (short jumper wire)

Connect mains Live to L1

Connect mains Neutral to N2

Connect Earth to Earth; if no Earth is presented, connect via 0.1uF/100V to chassis.

115V Connection

Connect L1 to L2 (short jumper wire)

Connect N1 to N2 (short jumper wire)

Connect Live to L1

Connect Neutral to N2

Connect Earth to Earth, if no earth is presented, connect via 0.1uF/100V to chassis.

Note:

Only use suitable, mains rated wire with the “The Power”.

Be careful to isolate the mains at the take off point in the CD-Player.

Take care to preserve the insulation requirements for your specific device (Electrical Safety)

The indicated trace is cut and resistor placed across it to prevent oscillation. Resistor from 1K to 5K is acceptable

Connect B+ as shown, or optionally a 1ohm resistor can be connected from that trace to the trace labelled B+. In that case B+ connects to the labelled B+

Connect anode as shown to reduce possibility of oscillation. Keep all leads short.

Adjustable pot is 2K and can adjust the CCS from 2 to 100ma. Note: higher current requires heat sinking. Recommended to install to chassis with hardware provided and as shown. Note: the back of the IXYS is conductive and must be insulated from the chassis.

Be careful: shorting the IXYS CCS will damage the 10S45M. There is no warranty for that.

For referemce: the B+ voltage less the anode voltage below the CCS is the voltage available for signal swing. Ie 400V B+ – 200V anode = 200v so +-100v signal.

Using Silk SQ supermalloy transformers with Seiden selector and attenuator switches. Gain and ground switches are also from Japan. Shortened signal paths to input where it is most critical.

Django Reinhart played guitar with two only fingers on the left hand due to an early injury. He turned this liability into an asset by inventing new fingering for jazz chords, fingering that inspired the great jazz guitarists that followed and is still used today. The Django transformer line stage also takes a creative approach and eschews unnecessary active components, while still providing +6db of gain and setting a new standard of performance, especially at low listening levels when all the highs and lows are still present in scale. Clarity, dynamics, and tone are finally realized in a passive line stage.